EyePACT

Abstract

The parallax effect describes the displacement between the perceived and detected touch locations on a touch-enabled surface. Parallax is a key usability challenge for interactive displays, particularly for those that require thick layers of glass between the screen and the touch surface to protect them from vandalism. To address this challenge, we present EyePACT, a method that compensates for input error caused by parallax on public displays. Our method uses a display-mounted depth camera to detect the user's 3D eye position in front of the display and the detected touch location to predict the perceived touch location on the surface. We evaluate our method in two user studies in terms of parallax correction performance as well as multi-user support. Our evaluations demonstrate that EyePACT (1) significantly improves accuracy even with varying gap distances between the touch surface and the display, (2) adapts to different levels of parallax by resulting in significantly larger corrections with larger gap distances, and (3) maintains a significantly large distance between two users' fingers when interacting with the same object. These findings are promising for the development of future parallax-free interactive displays.

The past, present, and future of gaze-enabled handheld mobile devices

“…Future systems could detect if the user is reaching out for far targets through their gaze, and bring them closer to the user's dominant hand. Gaze can be leveraged implicitly for correcting for parallax errors [54], which is a problem on touchscreens, particularly when styli or pen-shaped instruments are used [69].…”

Which one is me?

“…To address this, public displays increasingly support interaction for multiple users through different modalities. Examples for multi-user interaction using touch include Hello.Wall [29], EyePACT [13] and Worlds of Information [10]. Systems such as Looking Glass [26], Media Ribbon [2], StrikeAPose [34] and MyPosition [31] support multi-user interaction by mid-air gestures.…”